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T. S. Denison & Company^ Publishers 

623 S. Wabash Ave. CHICAGO 



THE ELOPEMENT 



A ONE-ACT FARCE 



BY 

HAROLD P. PRESTON 




CHICAGO 
T. S. DENISON & COMPANY 
Publishers - 



THE ELOPEMENT 



,^^ 



NOTICE 



Production of this play is free 
to amateurs, but the sole profes- 
sional rights are reserved by the 
author, who may be addressed in 
care of the Publishers. Moving 
picture rights reserved. 



COPYRIGHT, 1921, BY HAROLD P. PRESTON. 
COPYRIGHT, 1922, BY T. S. DENISON & COMPANY. 

SEP 30 1922 

©CI.D b'^OSJ) 



«>%,♦- 



I 



THE ELOPEMENT 



CHARACTERS. 

Marjory Fleming The Wife 

Reginald Adams The Other Man 

Jack Fleming The Husband 



Place — Any Large City. 



Scene — The Flemings' Apartment. 



Time— The Present. 



Time of Playing — About Twenty Minnies. 



TYPES AND COSTUMES 

Marjory — A young woman of persuasive charm. Wears 
an attractive gown that does not diminish her comeliness. 

Reginald — The English "Berty" type ; small and dapper. 
Wears cutaway coat, gray trousers and spats, silk hat and 
monocle, and carries a cane. Has a gun in his pocket. 

Jack — The usual business man type, preferably of large 
physique. Business clothes. Has a gun with a blank load 
in his pocket. 



STAGE DIRECTIONS. 

Up stage means away from footlights ; down stage, near 
footlights. In the use of right and left, the actor is sup- 
posed to be facing the audience. 

3 



THE ELOPEMENT 



Scene: A well-furnished living room. A door at the 
right leads to the entrance hall. A door up left leads to a 
closet, and another door in the left wall, but down nearer 
the audience, leads to the kitchenette. A fireplace is in the 
right zuall, down stage. In the center of the room is a table, 
with tzuo chairs. A plate of sandwiches is on the table. In 
the drazi'er of this table is a revolver, with blank load. 
Against the rear zvall, left of center, is a costnmer or hat 
rack, upon zvhich hang a cane and hat belonging to Regi- 
nald, and a hat belonging to Marjory. Betzvccn the tzvo 
left doors is a small table or stand. 

A fezv bars of ''Home, Szveet Home" may be played t^ 
raise the curtain, or the curtain may rise without music. 

At rise, Reginald and Marjory are on the stage. Reg- 
inald is seated at the right of the center table. Marjory 
is standing back of the table, feeding him a sandzmch. As 
Reginald is biting info the sandzvich, lie jumps suddenly to 
his feet. 

Marjory. What is the matter, Reggie? You nearly 
bit my hand off. 

Reginald. So sorry, dear. Did you hear a noise? {Looks 
about.) 

Marjory. Oh, Reggie, you're tiresome. All you do is 
hear noises. Haven't I told you that Jack won't be back 
until Monday? 

Reginald (looking around apprehensively). He might 
have forgotten his collar button. (Goes to door right as if 
looking for something.) 

Marjory. Nonsense ! 

Reginald (turning, partly reassured and coming doum 
center). Husbands a-ways come back in the motion pic- 
tures. Perhaps they have a psychic sense. 

4 



THE ELOPEMENT 5 

Marjory. You haven't even psychic sense. We're as safe 
as if we were in the middle of the Atlantic Ocean — 

Reginald {lifelessly). Ah, that's encouraging. 

Marjory {crossing to Reginald, and putting her arms 
about him eagerly). But there's only one way we can be 
permanently safe, dear. 

Reginald {shozcing consternation, and removing her 
arms). Permanently safe? 

Marjory. We can elope! 

Reginald {starting back in alarm). Oh, I say! I didn't 
come prepared for an elopement. I haven't my toothbrush 
or anything. 

Marjory. You don't need a toothbrush to elope with. 
x\ll you need is love and — someone else. 

Reginald. But I can't brush my teeth with love. Per- 
haps some other time we might arrange it. {Looks around 
nervously, as if wanting to escape.) 

Marjory {advancing tozvard him). There will be no 
other time. It's now or never ! 

Reginald {retreating quickly). I tell you the thing is 
impossible, Marjory. My wife and child would object 
;>^renuously if I were to elope with you. 

Marjory. That is no bar to our elopement. 

Reginald {hopefully). Did you say "bar"? 
. IMarjory. I am the new woman ! 

Reginald. You don't look so terribly new, dear. 

Marjory. I take what I cannot get. If you will not 
elope with me of your own free will, I shall abduct you! 
[Advances as if to embrace him.) 

Reginald (retreating as far as possible). Not that — not 
I hat. Anything you say, dear. 

Marjory {cooingly). There's a dear, good boy. I 
knew you were dying to run away with me all the time. 
Now run into the closet and get my suitcase. It's all packed. 

(Reginald goes to door up left, and exits. Marjory 
puts on her hat. Reginald returns, dragging a suitcase 
that is so heavy he can barely lift it.) 



6 THE ELOPEMENT 

Reginald. I say, dear, what have you got in here? 

Marjory. Just a few clothes. 

Reginald. One would never think that women's clothes 
could weigh so much. There seems to be so little to them. 
I say, old dear, how long is this elopement going to last ? 

Marjory {turns as she goes toward right door). How 
long is it going to last? 

Reginald. Yes, when are we coming back? 

Marjory. We aren't coming back. 

Regi'^ald (dropping the suitcase). Good heavens ! What 
will my family say when they find this out? 

Marjory. They should be grateful to me for taking you 
off their hands. Come now, dear, don't dawdle. (She goes 
to right door. Reginald picks up suitcase and takes hat 
from hat rack. A doorbell rings off right. Reginald drops 
the suitcase witJi a crash. He and Marjory look at each 
other, petrified zvith fright.) 

Reginald (starting for right door). I must be going 
now, dear. Toodle-oo. 

Marjory (tragically, holding him hack). You can't go. 
It's Jack ! 

Reginald (starts again). That's why I'm going. 

Marjory (thrusting him back violently). He'll kill you 
if he finds you here. He's insanely jealous. 

Reginald. Hang his sanity. I'm no alienist. I've got* 
to escape. 

(The doorbell rings furiously.) 

Marjory. Quick! The dumbwaiter! 
Reginald. Ripping ! 

(The bell continues ringing. Marjory removes her hat. 
and pushes the suitcase under the table betvjcen the doors 
at left. Reginald appears stupefied.) 

Marjory. Hurry, Reggie. I can't give you much time. 
(Starts to push him through door dozvn left. Sees plate 
of sandzviches, picks it up and shoves it into his hand. 
Hurriedly pushes him off stage.) 



THE ELOPEMENT 7 

Reginald (as he disappears). I told you he'd come 
back. They always do in the movies. (Marjory 
exits quickly, right, Reginald sticks head from kitchen- 
ette, then re-enters.) The dumbwaiter's locked! I wonder — 
(Crosses quickly to right door, and listens. Draws gun 
from pocket and examines it as he re-crosses to door up 
left, leading to closet, where he exits quickly.) 

Jack enters from the right, follozved by Marjory. 

Jack. Well, dear, I'm back sooner than I expected. 
(Tosses hat on center table, and takes her roughly in his 
arms.) Miss me much? 

Marjory (struggling to get away). Oh, Jack, you're 
mussing me horribly. (Crosses left of table.) 

Jack (going donm right of table). Got a wire from the 
man I was going to see which made it unnecessary to make 
the trip. Say, Marjory, I'm hungry. Guess I'll go in the 
kitchenette and rummage around. (Starts for door doz9n 
left.) 

Marjory (intercepting him). Oh, there isn't a thing 
there, Jack. 

Jack. Why, there was some cold tongue and ham there 
when I left this morning. 

Marjory. I ate them both. 

Jack. Good Lord! You must have had some appetite. 
There was about a pound of the two. 

Marjory. Yes, I was fearfully hungry from cleaning 
house this morning. 

Jack. Why, this was your music lesson morning. 

Marjory (confused). It was — but I couldn't go. The 
icebox was leaking, and I had to stay in until the plumber 
came to fix it. 

Jack. Well, I'll just go and see what I can find. (Starts 
again.) 

Marjory (coaxingly and flustered). I'll get you some- 
thing, dear. 

Jack (good naturedly) . Don't bother. I'll wait on my- 
self. (Starts to cross. Sees Reginald's cane on costumer. 



8 THE ELOPEMENT 

Goes over and takes it dozen. Turning.) Hello, what's 
this? 

Marjory (agitated). A cane. 

Jack. So it seems. What's it doing here? 

Marjory. I — I — was using it. 

Jack. It doesn't belong to me. 

Marjory (lamely). No. The — plumber — left it here. 

Jack (coming dozvn). So plumbers carry canes nowa- 
days, do they? 

Marjory. This was a most unusual plumber. 

Jack. So I suspect. (Starts for kitchenette. Sees 
suitcase. Picks it up and faces Marjory, zvho shozvs fear.) 
You were planning to run away with a man ! 

Marjory. He's not exactly a man. 

Jack. Don't lie to me, woman ! 

Marjory (crying). Jack, you are wronging me cruelly 
with this terrible suspicion. (Loud sneeze from closet up 
left.) 

Jack. Ha, ha ! Suspicion, bosh I ^^l^at's a sneeze do- 
ing in that closet if you're as innocent as you pretend? 
Your lover is hiding in there. I'm going to have him out! 
(Going to door up left, calls loudly.) Come out of there! 
(Reginald enters quickly.) Good Lord, betrayed for that! 
(Crosses center.) 

Reginald (adjusting his monocle). Warm day, rather. 

Jack (coming ton^ard him threateningly) . It's going to 
be hot — for you. What were you doing in that closet? 

Reginald (confidently). Hunting moths, old dear. 

Jack (disgusted). Hunting moths? 

Reginald (brightly). You grasp it, old chappy. I'm a 
professional moth-hunter. I came here to find a certain 
moth that Mrs. Fleming had seen about the apartment. 

Jack. That's a clever alibi. Is this your cane? (Pokes 
Reginald in the ribs.) 

Reginald (gasping, takes cane). Yes; thanks awfully. 

Jack (sneeringly) . So you're a plumber, too, are you? 

Marjory (quickly). Yes, this gentleman is the plum- 
ber. 



THE ELOPEMENT 9 

Reginald {looking bewildered). Plumber? (Catches 
Marjory's eye.) Oh, yes; I'm the jolly old plumber. 
Righto! 

Jack. A moth-hunting plumber ! 

Reginald. You have it. Really Mr. Fleming, you're 
iv.vfuUy bright, even though you don't look it. I should 
just love to stay here and chat with you, if I had the leisure, 
but I really must be going. (Starts for door right.) 

Marjory. The icebox is quite all right now, is it? 

Reginald (stopping). Quite. I fixed the carburetor 
and put a new shoe on the left foreleg. (Starts again. 
Jack stops him sharply.) 

Jack. That's enough of this talk. You can't get away 
with anything like that. I've got you two now, and you're 
not going to slip away from me as easily as this. What do 
you mean, you imitation man, by making love to my wife? 

Reginald (embarrassed). But I say, you know, she 
made all the love. 

Marjory. Wretch ! 

Jack. She did, did she? So much the worse. 

Reginald. That's what I thought. It has always seemed 
bad form to me for a woman to make the advances. Now, 
when my aunt — 

Jack (roitghly). We haven't time to listen to your fam- 
ily history. See here. Do you want her? 

Reginald. Really, my dear fellow, you distress me im- 
mensely. I have one wife already. 

Jack. That makes no difiference to-day. Add another 
to your collection. 

Marjory. How noble you are. Jack, not to stand in the 
way of my happiness. 

Jack (savagely^ to Reginald). But you've got to fight 
for her! 

Reginald (nervously) . Oh, I'm not at all athletic. 

Jack. I didn't mean that I was going to spank you. 
We'll fight with guns. (Taking gun. from pocket.) Here's 
yours. I'll get another. 



10 THE ELOPEMENT 

Reginald (taking gun). Good Lord — this is an arsenal! 

Marjory {throming her arms around Jack). Oh, Jack, 
you can't do this thing. It's murder ! 

Jack. He's got twice as much to shoot at as I have. 
{Brushes her aside. Gets gun from drazi^er in center table.) 

Marjory {at left). Can't you be big and noble and 
stand out of my way? 

Reginald {dozmi right; eagerly). Yes, that would be the 
splendid thing to do, you know. Just step aside and — 

Jack {at center). Step up and take your position. 

Reginald. T'll take under the table, if you don't ob- 
ject. 

Marjory {wringing her hands). Oh, this is terrible! 
How can I stop it? 

Jack. You can't stop it. You started it. Now you must 
go through with it. 

Marjory. Be brave, Reggie, for my sake. 

Reginald {feebly). Yes, dear. 

Jack. Marjory, you will count three. At the word 
three, we turn and fire. 

Reginald {adjusting his monocle). At least I'll die in 
full armor. 

Jack. Now take your position. {He cj-osses left and 
stands facing wall.) Now, Marjory. (Reginald crosses 
right and faces wall; leans stick against fireplace or wall.) 

Marjory {up center). Oh, Jack. I can't. I can't! 

Jack. Shut up ! Count ! 

Marjory {counts slozvly; Reginald in comic terror dur- 
ing counting). One — two — three! (Covers her face witli 
hands. Men turn and fire. Jack falls. Marjory uncovers 
her face, and sees Jack; horrified.) You've killed him. 

Reginald (opens eyes slowly). Am I dead? 

Marjory (going quickly to him, and shaking him). Did 
you hear what I said? You've killed him. Good Heavens, 
Reggie, it's murder in the first degree ! 

Reginald (zvcakly). Are there degrees of murder? 

Marjory. Quick; get your wits together, fool! (Shak- 



THE ELOPEMENT 11 

iiig him furiously.) The police may be here any minute. 
You've got to escape. 

Reginald (nervously). This is a beastly mess. I'll run 
;ilong, then. (Starts for door right.) 

Marjory (detaining him). You coward! Are you going 
to run away and leave me alone with the dead body of my 
husband? 

Reginald (carelessly). Oh, I'll send the police around 
to you. 

jMarjory. And have them arrest me as the murderer? 
We will both escape. But I must have money. 

Reginald (fumbling in pocket). Here's a quarter. That's 
all I have with me. 

Marjory. Don't be a fool. You have your check book? 

Reginald. Yes. 

Marjory. Give me a check for five thousand dollars. 

Reginald. Good Lord, Marjory. That's a lot of money. 

Marjory. It's worth anything to escape, isn't it? 

Reginald. I hadn't figured it was worth so much to me 
for you to escape. (Crosses to right of center table. Sits 
dozvn, takes out check book; urites.) 

Marjory (follozmng him). You heartless wretch! I 
see you foT the first time in your true colors. You would 
desert me, my husband dead, without a penny in the world. 
You may go, if that is the way you feel about it. 

Reginald (at center table nrifing). Every naught is a 
drop of blood. It's a big price to pay for kilHng a man 
you didn't know. (Rising and handing Marjory the 
check.) I was only jesting, dear. Here's your check. 
Things can never be the same after this. Can you forgive 
me for bringing this terrible tragedy upon you? I've been 
an ass. 

Marjory. You have — ^and I do. I forgive you every- 
thing. But go — ^go — (She crosses to Jack''s body. Kneels, 
her face buried in her hands. Reginald exits right quick- 



12 THE ELOPEAIENT 

ly. Slight pause. Marjory and Jack laugh and rise.) 
Bob, you sure put that over great. 

(Sound of police zvhistle heard off stage, in distance.) 

Jack {dusting his clothes). Sure I did. I'm some 
actor, if I do say it myself. Say, Mayme, you'd better cash 
that check at once. Hang it all, this is Saturday. We can't 
do nothin' till Monday. 

Marjory {at center). 'Aw, whadda we care, Bob? \\''e'll 
be miles away from here by Monday. 

Jack {crossing to her). A good haul, old girl. (Exitlt- 
ingly.) Five thousand bucks! That'll pay for a good many 
joy rides, eh, kid? {They embrace.) 

Reginald appears at right doorway. 

Reginald {sternly). Sorry to mar such a charming 
scene, but I'd rather see your hands in the air than around 
each other's necks. {He has them coz^ered with a gun.) 
Put them up ! Now come over here with your hands up. 
{As they cross toward the door he takes center.) This 
gun's got real bullets. I've had my eye on you for some 
time. You're a pretty clever team, but I guess my single is 
the feature act to-day. As for joy rides, you'll find a free 
one waiting for you outside. (Jack and Marjory exeunt 
right, slowly zvith upraised hands. Reginald follozvs, keep- 
ing them covered with his gun.) Get a move on! 

Curtain. 



Gettin' Acquainted 

BY 

Georgia Earle 

QUAINT, small- town comedy in 1 act; 1 male, 2 
females. Time, 25 minutes.' Scene: A New Eng- 
land sitting room. Played for three years by the 
talented authoress herself, on the Keith and Orpheum 
circuits; in New York, Chicago, Toronto, San Fran- 
cisco, New Orleans and cities in between, it struck a 
new note in vaudeville and has been compared with 
"The Old Homestead," Mary E. Wilkins' stories, etc. 

CAST OF CHARACTERS. 

Jane Stewart A Spinster 

Priscilla Stewart Her Sister, Also a Spinster 

John Purdy A Wooer for Fifteen Years 

All have heard of men who courted for years and 
did not "pop"; most communities can furnish living 
examples. The idea has never been used before with 
such clever and sprightly results. Honest, slow-think- 
ing, yet withal determined John Purdy had spent 15 
years just gettin' acquainted with the Stewart sisters, 
Jane and Priscilla. Finally Jane "goes and gets herself 
engaged" to another man but decides to bring matters 
to a focus for Priscilla. She determines to "make it 
snappy" and poor old John is "railroaded" into camp. 
Splendid lines and "business" so unusuallj'' clever as 
to place it almost in a class by itself among one-act 
plays. Like most talented creations, its simplicity 
commends it; well adapted to amateur presentation. 
Very minute directions for staging, acting and "busi- 
ness." Four excellent half-tone reproductions of scenes. 

Professional stage rights reserved and a 
royalty of five dollars required for amateur 
performance . Price, Per Copy, 35 Cents 



T. S. Denison & Company, Publishers 

623 S. Wabash Ave. CHICAGO 



Mary's Millions 

BY 

Frederick G. Johnson 

A RURAL COMEDY in 3 acts; 5 males, 6 females, 
extras optional. Time, 2 hours. Scenes: 1 interior, 
1 exterior. 

CHARACTERS. 

Jack Henderson A Civil Engineer 

Jimmie Barnes His Friend from New York 

Ezra Stoneham The Village Storekeeper 

Abija Boggs A Human Flivver 

Victor de Selles An Imported Product 

Jane Stoneham Ezra's Better Half 

Eudora Smith The Stoneham's Hired Girl 

Lola de Selles Victor's Sister 

Mrs, Mudge Wedded to Her Ouija Board 

Betty Barlow A Country School Teacher 

Mary Manners An Heiress to Millions 

Members of the Choir. 

"When I go after a side partner, she's going to be 
a live-wire lady. No corn-fed beauties for mine." 
"Say — honest — is there anybody in this one-horse town 
that has a million dollars?" "I've read books, I have, 
about them slick rascals from the city." "Waitin' 
for the mail? Looks more like waitin' for the female." 
"More city folks, I'll bet a doughnut." "I believe in 
sperrits, but I ain't seen none sense the country went 
dry." "Stop scratchin'! Ain't j'ou got no company 
manners?" "He looks like a head waiter and he 
talks like a bottle of seltzer." "All foreign wild ani- 
mals looks alike to me." "The greatest doin's since 
the mill dam busted." "What's been swiped an' who 
done it?" "Any clues? No, all genuine pearls." "She 
has chain lightning slowed down like the rural free 
delivery." "I foller the deeductive method. I don't 
take no clues off no Fiji board!" "Boy, I sure do 
hate to take you, but I reckon I got to." "Funny 
what a difference just a few millions make." "The 
third degree trimmed with hayseed." "Eudorj', you 
saj'- the durndest things!" 

Professional stage rights reserved and a 
royalty of fifteen dollars required for amateur 
performance. Price, Per Copy, 50 Cents 



T. S, Denison & Company, Publishers 

623 South Wabash Avenue CHICAGO 



Whose Little Bride Are You? 

BY 

Edith Ellis 

A FARCE Comedy, in 3 acts; 5 males, 5 females. 
Time, 2^/^ hours. Scene: 1 handsomely furnished 
living room. This play was written by the author 
of "Mary Jane's Pa" and other nation-wide successes. 

CAST OF CHARACTERS. 
Dr. Benjamin Bellows. A Sentimental Retired Physician 
Algernon Clawhammer. . .His Prospective Son-In-Law 

Augustus May His Butler 

Simeon Singleton His Old Friend 

George Tobin His Prospective Step-Son 

Florence Bellows His Charming Daughter 

Mrs. MacEckron His Neighbor 

Dolly MacEckron Her Daughter 

Maggie Brady The Maid 

Mrs. Amelia Tobin The Bride-To-Be 

At the beginning one potential bride is visible; be- 
fore the final curtain the woods, so to speak, are full 
of them. The brides range in assortment from the 
little flapper not yet out of her teens, to the seasoned 
200-pound campaigner who has worn the orange blos- 
soms no less than four times. Matrimonial pairing 
proceeds even to the butler and the housemaid. Mis- 
taken identity furnishes an unusual measure of com- 
plications until it actually becomes a problem as to 
which little bride is which, or who. Plot, situations 
and dialogue dovetail perfectly. The incidents are as 
humorous and rapid-fire as ever went into a play. It 
is especially adapted to amateurs, the parts being so 
vividl3^ characterized and the action so continuous that 
the piece virtually carries itself. 

Professional stage rights reserved and a 
royalty of fifteen dollars require d for amateur 
performance. Price, Per Copy, 50 Cents 



T, S. Denison & Company, Publishers 

623 S. Wabash Ave. CHICAGO 



Fifty-Fiity 

BY 

Frederick G. Johnson 

A FARCE of love, luck and laughter in 3 acts, by 
the author of "Mary's Millions"; 5 males, 5 fe- 
males. Time, IVa hours. Scenes: 2 interiors, an attic 
studio and a bungalow. 

CHARACTERS IN THE PLAY. 

Henry Brown An Artist 

Paul Green An Author 

Patrick O'Malley A Janitor 

Smudge A Valet 

Cap' A Wanderer 

Mrs. Podge A Landlady 

Sophie Bland A Dancer 

May Dexter An Enthusiast 

Mrs. Hawley A Collector 

Josephine A Seeker 

If there be a moral to this merry comedy of compli- 
cations, it is that it is possible to get too much of a 
good thing. Paul and Henry are struggling to achieve 
fame and bread-and-butter money in literature and 
art. Utter failure is their lot until one of Henry's 
paintings, accidentally displayed upside down, is enthu- 
siastically purchased by an art collector, and the "im- 
pressionistic painter" becomes the talk of the town. 
Paul, following the hunch, writes his stories backward, 
and success follows swiftly. But some innocent fibs, 
told for reasons of necessity, reach the newspapers, 
and the pals find themselves headed straight for 
trouble. Their love affairs go awry, and in the pre- 
dicaments which follow as a result of their propensity 
for spinning yarns, they find success an empty thing. 
A woman who claims to be Paul's wife, an elusive van- 
ishing painting, a mysterious sea-faring man, a med- 
dling landlady, all contribute to the mixup. Of course 
it all comes out happily. 

Professional stage rights reserved and a 
royalty of fifteen dollars required for amateur 
performafice . Price, Per Copy, 50 Cents 



T. S, Denison & Company, Publishers 

623 South Wabash Avenue CHICAGO 



Denison^s Royalty Plays 

AND HOME CAME TED 

By Walter Ben Hare. Comedy in 3 acts; 6 males, 6 fe- 
males; 2l^ hours. Royalty, ten dollars. Price, 50 Cents. 

ASSISTED BY SADIE 

By Walter Ben Hare. Comedy in 4 acts; 6 males, 6 fe- 
males; 2^ hours. Royalty, ten dollars. Price, 50 Cents. 



BETTY'S LAST BET 

By Edith Ellis. Farce-comedy in 3 acts; 5 males, 6 fe- 
males; 2% hours. Royalty, twenty dollars. Price, 50 Cents. 

FIFTY-FIFTY 

By Frederlcl< G. Johnson. Farce In 3 acts; 5 males, 5 
females; 2^/4 hours. Royalty, fifteen dollars. Price, 50 Cents. 

FOR THE LOVE OF JOHNNY 

By Harry Hamilton. Play in 3 acts; 6 females, 3 fe- 
males; 21/4 hours. Royalty, ten dollars. Price, 50 Cents. 



GETTIN' ACQUAINTED 

By Georgia Earle. Comedy in 1 act; 1 male, 2 females. 
Time, 25 minutes. Royalty, five dollars. Price, 35 Cents. 



THE GOLD BUG 

By Walter Ben Hare. Comedy in 4 acts; 7 males, 7 fe- 
males; 2^4 hours. Royalty, fifteen dollars. Price, 50 Cents. 

THE UE THAT JACK BUILT 

By Georgia Earle. Comedy in 1 act; 2 males. 2 females. 
Time, 30 minutes. Royalty, five dollars. Price, 35 Cents. 



MARY'S MILLIONS 

By Frederick G. Johnson. Comedy in 3 acts; 5 males, 6 
females; 2^ hours. Royalty, fifteen dollars. Price, 50 Cents. 

OLD MAIDS 

By Fanny Cannon. Comedy in 3 acts; 5 males, 8 fe- 
males; 2 hours. Royalty, fifteen dollars. Price, 50 Cents. 

WHEN SMITH STEPPED OUT 

By Harry Osborne. Comedy in 3 acte; 4 males, 4 fe- 
males; 2 hours. Royalty, ten dollars. Price, 50 Cents. 



WHOSE LITTLE BRIDE ARE YOU? 

By Edith Ellis. Farce-^comedy in 3 acts: 5 males, 5 fe- 
males; 2*/^ hours. Royalty, fifteen dollars. Price, 50 Cents. 

T. S. Denison & Coinpany, Publishers 

623 S. Wabash Ave. CHICAGO 



1-922 



LIBRARY OF CONGRES 

III 



Denison's Acting Piays 

Our list comprises hundreds of titles 
— comedies, dramas, farces, vaudeville 
sketches, musical comedies and revues, 
minstrel material, little theatre playlets, 
etc. All shades of sentiment are rep- 
resented, and all varieties of talent, 
number of characters and time required 
in presentation are provided for In this 
list. Denison's . Acting Plays contain 
detailed description of stage business, 
characters, costumes, settings, and full 
instructions for staging. 

Popular Entertainment Books 

In this series are books touching 
every feature in the entertainment field; 
Dialogues for all ages. Speakers, Reci- 
tations, Monologues, Drills, Entertain- 
ments, suitable for all occasions; hand- 
books for home, school and church, etc. 
Over sixty titles, each written by a 
specialist in his given line. The books 
are finely made, clear print, good paper, 
and each has a most attractive, individ- 
ual cover design. One of the best and 
most complete entertainment series 
published. 

Send for Complete Descriptive Catalogue 

T. S. Denison & Company, Publishers 

623 S. Wabash Ave. CHICAGO 



017 401 571 5 




